logo
Michael Rosen says Allan Ahlberg was a ‘pioneer of great children's literature'

Michael Rosen says Allan Ahlberg was a ‘pioneer of great children's literature'

Independent3 days ago
Michael Rosen has paid tribute to Allan Ahlberg and remembered him as a 'pioneer of great children's literature'.
The author, known for books including Peepo! and Woof!, died at the age of 87 on July 29, publisher Penguin Random House confirmed.
Children's author Rosen, 79, who wrote the book We're Going On A Bear Hunt, wrote in a post on X, formerly Twitter: 'Goodbye Allan. You were a pioneer of great children's literature, both in picture books and poetry.
'You were clever, funny and wise. My children loved your books. So did and so DO I.'
Francesca Dow, head of children's literature at Penguin Random House, said: 'Allan was one of the most extraordinary authors I have had the privilege and pleasure to work with.
'His brilliant books – so many of them created with his late wife, Janet, the highly talented illustrator – have been described as 'mini masterpieces'.
'Allan's are some of the very best – true classics, which will be loved by children and families for years to come. Dear Allan, we will all miss you enormously.'
Ahlberg was born in Croydon and raised by his adoptive parents in Oldbury in the Black Country.
In 1975, he published his first children's book with his wife Janet, Here Are The Brick Street Boys.
Together they went on to publish a number of books, including Each Peach Pear Plum (1978), Peepo! (1981), and The Baby's Catalogue (1982), their picture books Funnybones (1980) as well as the books in The Jolly Postman series.
He wrote some books for older readers as well, including the poetry collections Please Mrs Butler (1983) and Heard It In The Playground (1989).
Following his wife's death from breast cancer in 1994, he wrote a tribute to her in the form of Janet's Last Book (1997).
Ahlberg and his wife Janet were among the most loaned authors in the decade leading up to 2010, according to figures from PLR (Public Lending Right).
In 2014, Ahlberg revealed he turned down a literary lifetime achievement award because of the sponsor Amazon's tax arrangements.
The author said it was 'unacceptable' to take the honorary award from reading charity BookTrust when the online firm's name was attached to it.
Ahlberg is survived by his wife Vanessa, daughter Jessica and stepdaughters Saskia and Johanna.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Poem of the week: Sea-Fever by John Masefield
Poem of the week: Sea-Fever by John Masefield

The Guardian

timean hour ago

  • The Guardian

Poem of the week: Sea-Fever by John Masefield

Sea-Fever I must down to the seas again, to the lonely sea and the sky, And all I ask is a tall ship, and a star to steer her by. And the wheel's kick and the wind's song and the white sail's shaking, And a grey mist on the sea's face and a grey dawn breaking. I must down to the seas again, for the call of the running tide Is a wild call and a clear call that may not be denied; And all I ask is a windy day with the white clouds flying, And the flung spray and the blown spume, and the seagulls crying. I must down to the seas again to the vagrant gypsy life, To the gull's way and the whale's way where the wind's like a whetted knife; And all I ask is a merry yarn from a laughing fellow-rover, And quiet sleep and a sweet dream when the long trick's over. My poetry-reading these days falls into two main categories, discovery and re-discovery. But sometimes they overlap. Discovery doesn't dawn only from new poets and collections. Dusting off work I'm supposedly familiar with can suddenly reveal new perspectives, especially with a good editor as guide. Last week I re-read John Masefield as the result of a conversation with a writer-friend who gives readings to groups of adult-newcomers to poetry, often bringing well-known hits into his playlist. We soon got into a conversation about John Masefield's Sea-Fever (tried, tested but, we agreed, far from tired) and he raised a question about the first line: should it be 'I must go down to the seas again' or 'I must down to the seas again'? I wasn't sure; he wasn't sure. I checked in at home with the almost eponymous Sea-Fever: Selected Poems, edited by Philip W Errington, published in 2023. Errington has re-printed the poem as it appeared in Masefield's first collection, Salt Water Ballads, 1902, where the word 'go' is also omitted. The 'saltiness' in these early poems is often supplied by the mariners' dialect as they discuss death at sea, whether by shipwreck or as the result of yellow fever. When Masefield's poetic persona is close to himself, any lingering saline trace of dialect is washed by an inflowing fresh water tide of romantic longing. The sea is an image of seemingly free movement, and poems like The West Wind and Sea-Fever itself convey that double-expanse: the ever-moving sea and wind, and the human freedom these elements can symbolise. Less specific than some of the poems about the technicalities of sailing, Sea-Fever is a picture made of verbs, assonance, and the conjunction 'and', woven into the rhythmic strokes of a seven-beat line that joins what would be two lines in a traditional ballad. In each of the Sea-Fever quatrains, two couplets share a shanty-like call-and-response. The first ends firmly on the final stress ('sky', 'by'/ 'tide, 'denied'/ 'life', 'knife') while the second revises the rhythmic emphasis with feminine endings ('shaking', 'breaking'/ 'flying', 'crying'/ 'fellow-rover', 'over'). Herring-gulls are constantly 'crying' in that long 'i' sound. But a word with a short 'i' ('trick') is the clinching effect in the last line: as so often, the voyage concludes with death, but the characterisation of life as 'the long trick' is what stands out, suddenly intruding on those cliches of 'quiet sleep' and 'sweet dream' with an unforeseeable adjective-noun combination: 'And quiet sleep and a sweet dream when the long trick's over.' But what of that first line, and the word 'go' – added for the first time in Ballads and Poems, 1910, present in the 1922 Selected Poems, lacking in the 1923 Collected Poems, but back in place in the revised Collected Poems in 1946? Errington quotes from Linda Hart's A First Line Mystery published in The Journal of the John Masefield Society in 1993: 'When asked, in 1927, about the first line of the poem, Masefield stated '… I notice that in the early edition, 1902, I print the line 'I must down'. That was as I wrote the line in the first instance … When I am reciting the poem I usually insert the word 'go'. When the poem is spoken I feel the need of the word but in print 'go' is unnecessary and looks ill.'' From Masefield's comments, it seems he found 'I must down to the seas again' unnatural to speak, but that he preferred it to the less jinglingly dactylic rhythm that 'go' created on the page. 'I must down' is literary, antiquated diction for 1902. The omission of the preposition has distinguished idiomatic ancestry, though. There's a similar turn of phrase from Shakespeare in King Lear, when Lear says to Cordelia: 'Come, let's away to prison …' The noticeable jolt in Sea-Fever from the reference to 'the vagrant gypsy life' is explained in another illuminating editorial note. In manuscript drafts the poem begins, sea-less, 'I must go down to the roads again' or 'I must out on the roads again'. Those discarded 'roads' might have led Masefield to the kenning-like 'gull's way' and 'whale's way'. Perhaps the freedom of the sea and that of the open road and the community of the travellers remained joined together in Masefield's imagination. By omitting the all-too-necessary 'roads', the Wolverhampton-based poet of the new 20th century expresses the hallucinatory quality of his longing for what had been a mixed blessing at the time, the life of a sailor. His first impulse, to avoid the pedestrian 'go down', is the right one. He is murmuring to himself as if in a fever-dream: 'I must down to the seas again …'

'Incredibly flattering' Nobody's Child jumpsuit cut by 60% to £36 in huge sale
'Incredibly flattering' Nobody's Child jumpsuit cut by 60% to £36 in huge sale

Daily Record

time4 hours ago

  • Daily Record

'Incredibly flattering' Nobody's Child jumpsuit cut by 60% to £36 in huge sale

"I've worn it casually to a pub and dressed it up to go to out for a smart dinner. It worked equally well for both occasions and I received so many compliments." Summer isn't over yet, and there's still time to rehash your wardrobe given the hot weather Scots have been seeing lately. And lucky for those in the market for summer clothes, Nobody's Child is currently offering a huge sale with massive discounts across their website. One unmissable bargain in the current sale is this Black Tailored Scoop Neck Jumpsuit, which is currently on a generous 60 per cent discount, slashing its price from £89 to £36. The website has labelled the waist-cinching jumpsuit as 'selling quick', and while it is available in both petite and regular sizes, the petite jumpsuits are sold out. Pretty Little Thing version on Debenhams' for £24. Elsewhere this River Island version has a similar neckline to the Nobody's Child jumpsuit, costing £52. But shoppers may prefer to snatch up the Nobody's Child outfit before it sells out. Black Tailored Scoop Neck Jumpsuit £89 £36 Nobody's Child Shop Product Description The discounted Black Tailored Scoop Neck Jumpsuit is made from 80 per cent organic cotton and 20 per cent linen, and features a fitted bodice that is designed to define the waist, and detailed buttons up its front. With a wide leg cut, this jumpsuit is built for comfort and class as well as style, and if customers are unsure about purchasing online, Nobody's Child offers a 'Try Before You Buy' service. This allows shoppers to be sent items to try on for five days, and only pay for the clothes they keep. This saves the hassle of buying and waiting for refunds. Customers are adoring the black jumpsuit which has already gathered several positive reviews. One happy shopper said: "It's my first time buying from Nobody's Child and I'm absolutely delighted. This jumpsuit is the best. "I've worn it casually to a pub and dressed it up to go out for a smart dinner. It worked equally well for both occasions and I received so many compliments. My usual size was spot on. Fab purchase." Yet one customer had one complaint about the item, saying: "Nice jumpsuit and no real complaints, except it was a bit tight around the crotch. Fashion deal of the week New Balance has just launched a massive sale ahead of the summer, with up to half-price off. Hate that break in period with stiff footwear? Then look no further than the Unisex RC42 Shoes, said to be "comfy straight out of the box", that have been reduced from £90 to just £45, saving shoppers 50 percent off the original asking price. Featuring the classic minimalist silhouette that can be worn with everything from denim jeans to leggings, these trainers have been particularly designed for those with an active lifestyle. Crafted from a "lightweight" suede/mesh construction, they boast a low profile that is suitable for those who spend long periods of time on their feet, while the a padded tongue and cushioned rubber sole ensure all day comfort. Finished with the classic signature 'N' branding on the side, the half-price discount covers two colours - granite with white and linen with sea salt. As of writing, sizes range from a four through to nine, including a few half-sizes. Shoppers can't stop praising the New Balance RC42 Shoes, as they have earned a 4.2 rating and glowing reviews for their "comfortable" design that means they "don't even have to break them in." One five-star review read: "Very cute and comfortable right out of the box. On trend and has a somewhat cushioned midsole—perfect for wearing all day." Shoppers can bag the New Balance Unisex RC42 Trainers for half-price in the sale here. "I returned it as I felt the black washed me out- but I think it would suit someone with a darker skin tone." But another customer was satisfied with the fit of theirs, saying: "I'm 5ft and it fits perfectly, had many compliments when wearing with people asking where I got it, and it's incredibly flattering." The discounted jumpsuit can be purchased on the Nobody's Child website. Join the Daily Record WhatsApp community! Get the latest news sent straight to your messages by joining our WhatsApp community today. You'll receive daily updates on breaking news as well as the top headlines across Scotland. No one will be able to see who is signed up and no one can send messages except the Daily Record team. All you have to do is click here if you're on mobile, select 'Join Community' and you're in! If you're on a desktop, simply scan the QR code above with your phone and click 'Join Community'. We also treat our community members to special offers, promotions, and adverts from us and our partners. If you don't like our community, you can check out any time you like. To leave our community click on the name at the top of your screen and choose 'exit group'.

Bloody Awful in Different Ways by Andrev Walden review – darkly funny Swedish autofiction
Bloody Awful in Different Ways by Andrev Walden review – darkly funny Swedish autofiction

The Guardian

time6 hours ago

  • The Guardian

Bloody Awful in Different Ways by Andrev Walden review – darkly funny Swedish autofiction

For Mum (NB: not in a passive aggressive way)' reads the dedication at the beginning of this distinctive debut. It gives us a promising flavour of the voice with whom we'll be spending the next 340 pages. The story begins with deceptive simplicity: 'Once upon a time, I had seven dads in seven years. This is the story of those years.' The narrative has a section for each 'dad', charting Andrev's tumultuous childhood and teens as his mother's boyfriends come and go, all of them disappointing and disruptive, and several of them violent. The dads are named for their dominant trait in young Andrev's eyes: so we get the Plant Magician, the Thief, the Murderer, the Artist, among others. It is billed as a novel but we're in ambiguous territory here. The story is heavily autobiographical, based on Walden's own childhood experiences. The narrator tells us: 'If anything sounds made up, then you can be sure that it is true.' Instead, the inventions are 'tucked away in the most mundane parts – like the colour of a cushion'. So we have two Andrevs involved, the child whose bewildered, coming-of-age adventures we follow, and the 'real' Andrev, whose name is on the front cover. Metafictional interjections pepper the narrative, the authorial voice frequently intruding to comment on its own decisions, such as Andrev's observation on the very first page: 'I shouldn't start there. (I have most assuredly already done so, but I think the attempt should remain, given its aptness as a bridge to a dramaturgical arc.)' These postmodern flourishes could have felt grating, but the narrative voice has more than enough wit and charm to carry them off. It's easy to see why the book has been such a hit in Walden's native Sweden, where it was the bestseller of 2023 across all genres and won the August prize, Sweden's most prestigious literary award. Walden's instinct for observation and his ear for prose are flawless. His understated humour is particularly winning. Going to stay with relatives, Andrev is amazed by the number of cousins in the house: 'There are so many rooms and so many cousins that I keep finding new ones. It's like opening doors on an Advent calendar – wow, here's another cousin.' And then, a few pages later: 'When we return to the apartment on Tomtebogatan, new cousins have emerged from the walls.' (He hasn't yet realised that his aunt is a childminder.) But for all its humour, there is a terrible bleakness at the novel's core. The men are, almost without exception, selfish, violent, dishonest or cruel; sometimes all of these at once. It is characteristic of Walden's restraint that one of the most chilling moments in the novel is barely more than an aside, a reference to the friend of Andrev's mother, Little Cloud, whose ex-boyfriend turned up at her door one night: 'He didn't want to talk. He didn't even want to come in. All he wanted was to hit her on the head with the hammer and that he did, wordlessly. That's how she got the hole in her head and learned to hate men.' The childish offhandness with which this moment is treated makes it all the more disturbing. Of all the dads, the brilliantly drawn Plant Magician looms largest in the narrative. Some of the others have a tendency to blur into one another (the book might also have been called Bloody Awful in Pretty Similar Ways). But it's not really about the dads anyway. It's about Andrev, and, to a lesser extent, his vulnerable and resilient mother. Beyond the structural device of the seven dads, Walden resists any easy narrative hooks; Andrev warns us not to 'harbour expectations of an unexpected twist – this story lacks such inclinations'. Instead, Walden trusts to the precision and flair of his writing alone, and for the most part this decision is vindicated. It is true that the momentum dissipates somewhat in the final third (I could probably have done with one or two fewer dads, but since we're in the realm of semifictionalised memoir, this is a bit much to ask). However, the writing remains so sharp, so beguiling, so acutely observed that by this point I was willing to follow Andrev/Andrev pretty much anywhere. Rebecca Wait's Havoc is published by Riverrun. Sign up to Inside Saturday The only way to get a look behind the scenes of the Saturday magazine. Sign up to get the inside story from our top writers as well as all the must-read articles and columns, delivered to your inbox every weekend. after newsletter promotion Bloody Awful in Different Ways by Andrev Walden, translated by Ian Giles, is published by Fig Tree (£14.99). To support the Guardian, order your copy at Delivery charges may apply.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store